In Camera
Launched in 2003, 'In Camera' introduced a completely new premise to the interview format. Allowing a global online audience - as well as the interviewee’s friends, family and peers - to pose questions answered during a live and unedited broadcast, In Camera offers the unique chance to watch and participate in candid and often revelatory interviews with world-renowned cultural figures.
Juergen Teller
Celebrated for his arresting and often confrontational imagery that debunks the glamour of traditional fashion photography, in December 2004 Juergen Teller became the second world-renowned fashion photographer featured as part of our prestigious In Camera interview series.
This interview was showcased online with a series of live stills updated throughout the course of the interview, and a real-time transcript typed and edited live.
Q&A
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Q. There is an image in your current exhibition at Modern Art where you and your wife are pictured standing either side of an estate car, much in the way that Mrs and Mrs Andrews stand in front of their country estate in the Gainsborough painting. Are you asserting yourself as the new society painter?
First of all, it's not an estate car. It's a Mercedes 500CL. It's for me the perfect family portrait where I've put everything: the car, the wife and the kid. It's a happy photograph. It's my state of mind.
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Q. Why do you think you became a photographer?
I really don't know. If I think for a second, I guess I wanted to explore the world.
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Q. Why do you think you have been successful?
What is success? If you are content with yourself, then it's a success.
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Q. Dear Juergen, do you ever feel that you use people?
Of course I use people and people use me. That doesn't mean it's in a negative way whatsoever. As much as I use, I give. When other people use me, they give me something as well.
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Q. In your opinion, does talent come from hard work or are you just born with it?
You are born with it. But you have to work hard on yourself.
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Q. What most inspires you to press the shutter?
Strange question. I'm not really interested in the shutter.
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Q. Has Helmut Newton influenced your work?
Not really.
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Q. Juergen, do you find that your work is criticised more zealously now that your are positioning yourself as an art, rather than purely a fashion photographer?
I don't consider myself as an art photographer. Nor as a fashion photographer. I consider myself as a photographer who produces work. I am interested in many things. But your question has a point. People want to put everyone in one cupboard because it's easier for them to deal with.
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Q. Are you competitive?
Yes.
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Q. Which painters have influenced you?
Many things influence me in life. I couldn't recall one particular painter.
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Q. Juergen, do you find that your work is criticised more zealously now that your are positioning yourself as an art, rather than purely a fashion photographer?
I don't consider myself as an art photographer. Nor as a fashion photographer. I consider myself as a photographer who produces work. I am interested in many things. But your question has a point. People want to put everyone in one cupboard because it's easier for them to deal with.
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Q. Do you think you have been influenced by the work of Wolfgang Tillmans?
I like some of his work. Whenever I like somebody's work, whether it's a painting, a film, a book or whatever it might be, it has impact somehow deep in your psyche, or in yourself.
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Q. Do you have any message that you wish to communicate through your work?
To be yourself.
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Q. Your work provokes extreme reactions. What makes you invite hostility towards you?
I don't think it's so extreme. I just try to do what I believe in.
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Q. Where do you see yourself within contemporary German photography?
I am not concerned about countries and borders.
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Q. Hallo juergen, sehnst sich du dich manchmal nach deutschland? [Hello Juergen, do you sometimes feel a longing for Germany?]
Of course I do. Whenever I miss it too much, I go. I go quite regularly.
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Q. Do you think there is any social value in your work? Does it benefit anyone?
I think there is. If it helps you to find your own individuality, which I always try to push within my work, free from any preconceptions, to try to find yourself. That's an extremely difficult thing to do for a lot of people.
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Q. Who do you think you are kidding?
Fuck off.
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Q. Does your status as a well known photographer make the challenges of your personal work more difficult to fulfill?
No it doesn't.
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Q. Does politics have a place in fashion?
You can be politically aware whatever you do.
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Q. Why have you decreased the amount of fashion editorial you publish?
Because I don't have so many ideas. Only when I have one I pursue and try to publish it.
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Q. Juergen, when conducting a fashion shoot do you prefer working with models or 'real people'?
It changes all the time. They are all real people to me.
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Q. Which designer is the most enjoyable to work with?
Marc Jacobs and Helmut Lang.
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Q. Why is it necessary to credit yourself at the bottom of every ad campaign?
Why not?
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Q. Do you find your ad work more satisfying or your personal work?
What do you think?
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Q. What's your day rate for a 'commercial shoot' like your Helmut Lang or Marc Jacobs work?
You'll have to call my agent.
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Q. Personally I believe what we all do as photographers is performance. With your last series of photos of you and Charlotte Rampling, the pictures were taken by someone else presumably under your direction. If you are relinquishing control through the lens you are therefore taking a step toward pure performance as both director & actor. Are you conscientious of this and can you be persuaded to go further and perform a piece for our webcams?
I am in complete control. People don't ask a filmmaker 'did you really shoot this film?' just because there was a cameraman? And Nick, I don't know what a webcam is. If you have any ideas, why don't we do something together?
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Q. Why Charlotte Rampling?
I am an old friend of hers and I love her.
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Q. Hotel rooms are a constant setting for your A-list sitters. What do they add to your portraits?
Well, they are just in them.
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Q. As a film/advertising director I get 200% out of my cast supposedly! How do you as a photographer get your sitter's attention to detail as you would want it?
I am just there with them. Talk to them, engage with them, work with them, eat and drink with them, have a good time with them. Being involved with them and them with me.
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Q. Do you sleep with your models?
Yes, with all of them.
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Q. Hello Juergen, Why do you appear naked in so many of your pictures? Is this a statement about yourself or possibly about the representation of the body in photography? Do you dislike clothes or are you perhaps a little turned on by exposing yourself to such a large audience?
It's about being pure and honest. At certain moments, I didn't want to deal with what certain clothes mean. It helped me to be more direct. I am not turned on by exposing myself to an audience.
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Q. How do you know if you have gone too far?
It hasn't happened yet because I wouldn't go to certain places where it's uncomfortable for myself or for the sitter. I am very conscious of being responsible to myself and to others.
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Q. What is private for you?
That is private.
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Q. Describe your relationship with Kate Moss?
She is a friend. We have known each other for about 15 years and have spent good times working and playing together.
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Q. Does your current photographic technique bear any resemblance to your formal training?
My formal training was very conservative. I spent two years in photo college, learning to work with a large, medium and 35mm camera, learnt how to develop black and white films and print colour and black and white. It was a solid education.
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Q. What kind of cameras and lights do you use? We are students from India.
Contax G2 with a flash on top.
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Q. In an era defined by the moving image, how do you see photography maintaining its relevance?
Is the moving image defining our era? I think photography remains as relevant. What are you talking about?
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Q. How do you get away with just using compact cameras?
I get away as fast as I can!
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Q. Has taking photographs become easier in the digital age?
I don't know. I don't work digitally. Taking photographs has nothing to do with the medium.
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Q. Do you ever feel obligated to be "Juergen Teller?" Are you trapped by your own career?
No.
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Q. Do you ever feel insecure about the work you are producing?
Of course. At certain moments, if you are insecure, then it becomes exciting. You don't know where it's going. That's the interesting bit. You have to push yourself where it's unsafe. It's very exciting.
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Q. Hast Du schon einmal daran gedacht mit dem Fotografieren aufzuhören? [Have you ever considered quitting photography altogether?]
No. As long as I am excited about life. There needs to always be a reason why you take a picture in the first place. You have to think very hard before you want to take a photograph. There is always something in life that I want to explore.
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Q. Do you believe in Jesus?
Not really.
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Q. What advice do you have for young photographers, starting out in their careers?
You have to know why you want to take a picture in the first place. And that's a hell of a difficult question. If you don't know, don't start.
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Q. Sag mal Jürgen, was sagt denn eigentlich deine Mama zu deinen Sachen? [Tell me, Juergen, What does your Mum actually say about the subject of your work?]
Some things she likes. Somethings she has enormous problems with. But I try to discuss it as much as I can with her. But I don't expect her to fully understand everything about it. But if I can help, explaining it to her, that's a good thing.
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Q. I prefer to ask questions in person, so instead I am sending you my warmest regards.
Thank you. I am coming soon. Love